Ginger Networked feminism
Issue 18
Fa l l 2 0 1 9
Mission
GRACIE BIALECKI
LIANA IMAM
Ginger maps networks of creative people. In keeping with the logic of a network, all of the contributors to this issue were referred by an editor or contributor from a previous issue. As a feminist publication, we are committed to supporting the work of womxn, non-binary, and gender nonconforming individuals. Our goal is to produce a zine with a diverse range of forms, content, and perspectives.
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ISSUE 1 ISSUE 2 ISSUE 3 ISSUE 4 ISSUE 5 ISSUE 6 ISSUE 7 ISSUE 8 ISSUE 9
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ANNA CONE
LANE SPEIDEL
CARLA AVRUCH
CLAUDIA GERBRACHT
ELIZABETH SULTZER
MARIE HINSON ALEX VALLS
ISSUE 11
DOROTEA MENDOZA
ISSUE 12 ANNE MAILEY
LEANNE BOWES
ISSUE 13 ISSUE 14
IRENE CAVROS
ISSUE 15
KERRI GAUDELLI
ISSUE 16
MEREDITH SELLERS
ISSUE 17 ISSUE 18
LEYLA TULUN
DELILAH JONES
DEVIN DOUGHERTY
KRISTINA HEADRICK
OLIVIA JANE HUFFMAN
ISSUE 10
ASHLEIGH DYE
S.E.A.
MADELINE DONAHUE
CAITLIN ROSE SWEET
JACQUELINE MELECIO
NATALIE EICHENGREEN
MISIAN TAYLOR MS. NIKO DARLING
JEN COHEN
SAM CROW
BRIE ROCHELILLIOTT
CARMEL BROWN
MEGAN SICKLES
JULIA DUNHAM
EIRINI PAPAEFTHEMIOU
NATASHA WEST
ANDREA GUSSIE
ERICA McKEEHEN
EMILY WUNDERLICH
MARIA R. BAAB
HALA ABDULKARIM
FELICIA URSO
JANE SERENSKA LA JOHNSON
RACHEL WALLACH JAZZY MICAELA SMITH
NATASHA MIJARES
ITZEL BASUALDO
ALEX PATRICK DYCK
ALEXIS CANTU
AGROFEMME
BRITLYNN HANSENGIROD JULIANA LUJAN
DEVYN MAÑIBO
MARIE SÉGOLÈNE
BONNIE LANE
KATHERINE TARPINIAN
Ginger is run by Markee Speyer and Jacqueline Cantu. Reach us at gingerthezine@gmail.com.
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MOLLY HAGAN
SOPHIE KNIGHT
HARRIS BAUER TONI KOCHENSPARGER
CAMERON RINGNESS
LAURA McMULLEN
HANNAH MODE AMY BERENBEIM
ISSACHAR CURBEON
RACHEL ZARETSKY
YI-HSIN TZENG
SOFIA PONTÉN
FREDRIKA THELANDERSSON
WOLFGANG SCHAFFER
COLLEEN DURKIN
LAUREN ARIAN
ENA SELIMOVIĆ
ARIEL JACKSON
BRIE LIMINARA
RACHEL BRODY
LAURA COOPER
HERMIONE SPRIGGS COREENA LEWIS
NANDI LOAF KASIA HALL
ANA GIRALDOWINGLER IVY HALDEMAN
NP SANCHEZ
EEL COSTELLO
SOFIE RAMOS
VANESSA GULLY SANTIAGO
JENNIFER WEISS KRYSTA SA
ALLI MALONEY COURTNEY STONE
EMMALINE PAYETTE
HANNAH RAWE
NATALIE GIRSBERGER
CAITLIN WRIGHT
MARTY MANUELA
JESSE HEIDER
ISA RADOJČIC
PAULAPART MIMI CHIAHEMEN
JESSICA PRUSA
LEIGH RUPLE
JESSICA WOHL
MAYON HANANIA JOLENE LUPO
SARA LAUTMAN NATALIE BAXTER
DEENAH VOLLMER ELAINE HEALY
KATE WHEELER
ERIN MIZRAHI
EMILY ROSE LARSON
INDIA TREAT
TRACI CHAMBERLAIN
TYLER MORGAN
TIFFANY SMITH
MARIA NIKOLIS
BECKY BRISTER
RACHEL KANN ULRIKE BUCK
PRIYANKA RAM
MOLLY RAPP
KATHARINE PERKO JILLIAN JACOBS
B. NEIMETH
KATIE MIDGLEY
KATHLEEN GRECO
DEBORAH DAVIS
ANNELIE McKENZIE
CATHERINE AZIMI
HANNAH MCMASTER
ALYCE HALIDAY MCQUEEN
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KATRINA SORRENTINO JORDAN REZNICK
CRAIG CALDERWOOD
ERIC DYER
MARTHA NARANJO SANDOVAL
CLARE BOERSCH HANNAH NELSONTEUSCH
DREA COFIELD + GABY COLLINSFERNANDEZ
ALEX CHOWANIEC
GROANA MELENDEZ
VERÓNICA PUCHE
CARLY FREDERICK
KAT SHANNON
ANNIK HOSMANN
STEPHANIE VON BEHR
JULIANA HALPERT SOPHIE OAKLEY
LEAH JAMES
MARIA STABIO
JESS WILLLA WHEATON
MOLLY ADAMS
CAROLINE LARSEN
SONYA DERMAN
REBECCA BALDWIN
BRE WISHART
GABRIELLA PICONE
LEXI CAMPBELL
BIRAAJ DODIYA
MARISSA BLUESTONE
ABIGAIL HENNING
MARTHA WILSON
KAITLIN McDONOUGH
KATIE VIDA
LEIGH SUGAR KATIE FORD
LAUREN BANKA
LANI RUBIN
EMILY LUDWIG SHAFFER
JENNY BLUMENFELD
JOEY BEHRENS KAITLIN McCARTHY
JESSI LI NICKI GREEN
ERI KING
JULIE ZHU
JAN TRUMBAUER
ELIZABETH TANNIE LEWIN
JEAN SEESTADT
SARAH MIHARA CREAGEN
ANNA GURTONWACHTER
LAURA PORTWOODSTACER
CHARMAINE BEE
SHALA MILLER
MOLLY SCHOENHOFF
LORI LARUSSO
LETITIA QUESENBERRY
KAVERI RAINA AMIA YOKOYAMA
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CARRIE GREEN
STAVER KLITGAARD
CHRISTINE SHAN SHAN HOU
ASTRID KAEMMERLING + BECCA J.R. LACHMAN
C. CHAPIN KATY McCARTHY
ASHNA ALI
AMANDA LÓPEZKURTZ
COURTNEY KESSEL + DANIELLE WYCKOFF
PAOLA DI TOLLA
AMBER HOY LEJLA KALAMUJIĆ + JENNIFER ZOBLE
HAYLEE EBERSOLE
LAURA BERNSTEIN
HEIDI BENDER
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LUCA MOLNAR
JORDAN LANHAM
MICHAELA RIFE
JESSICA LAW
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Issue 18 contributors
Katrina Sorrentino........ PAGE 09 Julie Zhu........ PAGE 16 Coreena Lewis........ PAGE 25 Groana Melendez........ PAGE 28 Carrie Green........ PAGE 37 Gabriella Picone........ PAGE 43 Jordan Lanham........ PAGE 48 Verónica Puche........ PAGE 53 Priyanka Ram........ PAGE 60
On the cover: Mercedes Altagracia Perez Gross, Tía Chea by Groana Melendez Gazcue, Santo Domingo, R.D.
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Katrina Sorrentino How to Make the Bed
O
ma, the matriarch, was dying, I was getting married, and Mom was somewhere in the middle— parent, housewife, daughter, mother, caretaker. As the wedding approached, I regressed to an almost childlike state. I questioned everything: my upbringing, our family history, our faith, and I looked to my mother to guide me through it. Through photography we escaped, she from the banality of suburban rituals and I from my debilitating anxiety. All the while we watched Oma fade. Exercises in closeness, these works document performances, tantrums, and the signifiers of gender roles and domesticity with which we are shaped as women— parent, housewife, daughter, mother, caretaker. They document the path of becoming by way of holding on and letting go.
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KATRINA SORRENTINO
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KATRINA SORRENTINO
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KATRINA SORRENTINO
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KATRINA SORRENTINO
Fall 2019
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KATRINA SORRENTINO
Katrina Sorrentino is a visual artist and documentary filmmaker. She received an MFA from the International Center of Photography in 2016 and has since exhibited in New York City, Houston, Texas, Arles, France, Bogotรก, Colombia and Mexico City. As a documentary filmmaker she has highlighted human rights issues such as transgender equality and immigration in the United States, and anti-human trafficking. Crossing Over, her documentary that tells the story of three translatina, political asylum seekers, was picked up by Participant Media and Univision as part of their "Panoramica" series and won a GLAAD award for Outstanding Documentary in 2015. Katrina is also a curator and community organizer for the Brooklyn-based arts collective Nomadique. katrina-sorrentino.com โ ข @treenaphoto
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Julie Zhu Note to Performer and Reader:
Each spread is a musical piece. The left page is the score. The right page contains the corresponding instructions for the score. Writing the score is the performance of the score. Trace the drawing on vellum paper according to its instructions using a traditional wooden pencil. You are the performer as well as the sole audience. The sound of drawing is the musical event. Start wherever you like, though it pays to be methodical. Some scores contain multiple layers of drawings—each with a characteristic mark— execute these layers separately. Freely vary tempo and rest duration. Optionally, the sound may be amplified using a contact microphone and speaker. Listen carefully.
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JULIE ZHU
I. Andante con moto
trace each open circle using a pencil with soft graphite note the form of the aperture and choose the direction of your pencil but let it change are you feeling more like a B-side person today? when you draw, hold your breath listen to the timbre and rhythm of the rounding start some movement slow and end fast in others, begin with a flourish this is your quality time perform the last line with obvious pleasure
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JULIE ZHU
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JULIE ZHU
II. Menuetto
first plant the tight scribbles make the marks as if you are scrubbing away very tiny footprints come in next with the horizontal lines and the dots in between try not to leave pressured points at either end, a slow, straight walk. do this in the early morning or at least pretend. Roll the word aubade around in your mouth as you press the pencil down, consider the potted plant on your window sill or its absence. “love your solitude� then exchange rest for activity, guilt for a good backhand, and grow the final marks like grass, accelerating strokes because again is the word we live for
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JULIE ZHU
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JULIE ZHU
III. Presto molto furioso
You are on your own but perhaps imagine the man saying “‘tis better to be a girl raised rich” the father saying “she will marry into what she is used to soft pillows -graceART and investment. She is a future” perhaps in each line whisper never again never again
Fall 2019
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JULIE ZHU
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JULIE ZHU
IV. Adagietto
these are caterpillar drawings vibrate on in like the taming of bells the pause, and think about what you have to do for a moment, or a week alternate between focus and distraction uncomfortably, if you’re willing lightly shade rotations in the circle for the time it takes for you to start a letter the time it takes for you to find the mosquito the time it takes to make her come the clouds are the tempo the star is an accent the sound of writing the score is the performance of the score
Julie Zhu is an artist and composer. She employs a variety of media, from mural painting and sculpture to performance and video, and collaborates with artists from different fields to create experimental chamber experiences. She has activated living rooms, concert halls, art galleries, bell towers, caves, copses, and once made a tiny house for just one harpsichordist’s body and the keyboard. Her scores range from hair cast in clear resin to temporary tattoos to traditional orchestration, and have been performed by Marco Fusi, Longleash, PROMPTUS, TAK ensemble, among others. Zhu gives carillon concerts around the world and was the resident carillonneur at Saint Thomas Fifth Avenue in Manhattan. At present, Zhu is working on her DMA in music composition at Stanford University, and previously studied at Yale University (BA mathematics, BA art), the Royal Carillon School (Diploma carillon performance), and Hunter College (MFA art). juliezhu.net • @zooliejoo
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Coreena Lewis
Fall 2019
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COREENA LEWIS
Coreena Lewis is a illustrator living and daydreaming in Vancouver, BC. Inspired by folk art, her work often is colourful, full of flowers and not of this world. coreenalewis.com • @coreenahhhh
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Groana Melendez
A
s a first generation American, I am interested in exploring hybrid identities through self-representation. I’m curious about the complex relationships between a family fractured by emigration. Unable to trace my heritage beyond my grandparents, I use the family album and images of the space my relatives occupy in New York City and Santo Domingo to trace who we are. I look at my relationship between my family, the Dominican Republic, and the United States. In some of my images, I look at the space my mother has created for herself in Washington Heights. Her childhood was colored by a dictatorship, and as a result, she now buys in bulk. The apartment I grew up in is always cluttered, and rooms are full of trash bags of necessities to ship to the Dominican Republic. Other times I appropriate my family album photographs as a way to explore where I came from. Now, as a newlywed, I am looking towards the future by using myself as a subject. I perform in front of the camera alone to question my identity separate from my Dominican culture.
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GROANA MELENDEZ
Untitled (Makeup) Washington Heights, NYC, U.S.
Laura Daydreaming Gazcue, Santo Domingo, R.D.
Mami’s Bureau Washington Heights, NYC, U.S.
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GROANA MELENDEZ
Indira Marleni Melendez Bonilla, Sister Las Caobas, Santo Domingo, R.D.
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GROANA MELENDEZ
Album Snippet #283
Untitled (Photo Album)
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GROANA MELENDEZ
DoĂąa Marta Los Kilometros, Santo Domingo, R.D.
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GROANA MELENDEZ
Tía Chea’s Foyer Gazcue, Santo Domingo, R.D.
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GROANA MELENDEZ
Untitled (Celebration) Harlem, NYC, U.S.
Sewing Room Washington Heights, NYC, U.S.
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GROANA MELENDEZ
Untitled (Mona Lisa) Harlem, NYC, U.S.
Born in Brooklyn, Groana Melendez was raised between New York City and Santo Domingo. She holds an MFA from the Advanced Photographic Studies at the International Center of Photography-Bard Program. Groana graduated Magna Cum Laude with a Bachelor of Fine Arts in Art Photography from Syracuse University. She has participated in group exhibits in China and Guadalupe, as well solo shows in the New York Public Library as well as ICP-Bard’s studio in Queens. She works and lives in the Bronx in New York City. groanamelendez.com • @groana
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Carrie Green
Lament
In memory of Amy Koegel, a neighbor murdered by her boyfriend.
This neighborhood’s so quiet you can hear the whine of cars from a mile away. But at 3:00 a.m., even if you can’t sleep, you don’t hear the shouting at the Cape Cod down the block. It’s the one with the bay window, the ash tree about the size of yours— the tree man just pumped fresh rounds of poison into their trunks. This neighborhood’s so quiet you could sleep with the windows open, but tonight they’re locked against spring’s yellow haze. You don’t hear the first shots puncture the neighborhood’s quiet or the thud of her body against the porch floor. This neighborhood’s so quiet that the pause between gunfire as he slips a pillow beneath her head sounds like the usual neighborhood quiet: in the distance, a motorcycle revs. Then four more shots. The next-door neighbors who dial 911 from bed listen for sirens. They don’t hear him carry her like a sack of mulch to the pavement or cover her with a blue tarp. They wait and wait. This neighborhood’s so quiet that sometimes, when you can’t sleep, you think you hear the beetles riddling the ash trees with exit wounds.
Fall 2019
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CARRIE GREEN
Everyday Calculations A parishioner, Sandy Ward, said that a daughter-in-law and three of her grandchildren were shot … Ms. Ward said she did not attend services on Sunday because of her troubled knees and a bad hip. —“ Gunman Kills at Least 26 in Attack on Rural Texas Church,” The New York Times, November 5, 2017 If your mother kneels inside the church. If your father. If you stay home from the mosque or synagogue because of flu/ bad knees/ bad weather. If your son daydreams in geometry. If he skips school for the concert. If your partner takes him to the concert and you stay home with the baby. If you go with them and hire a sitter. If your daughter goes to the movies. If the mall. If Walmart. If your sister waits in line at the airport on her way to visit you. If your brother dances at the nightclub. If you make small talk at the office party. If your aunt or uncle, niece or nephew. If your grandmother or grandfather. If your cousin, friend, or lover. If your brother. If your sister. If your daughter. If your partner. If your son. If your father. If your mother
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CARRIE GREEN
Parsonage Parlor
— after one of the dioramas in the series “Nutshell Studies of Unexplained Death” by Frances Glessner Lee
August, yet the Madonna and child peer down on this scene, and the calendar commemorates the Magi’s journey. On a chair, the girl’s red purse and the meat the butcher wrapped like a gift. Someone has shuttered the windows, bundled armchairs and lampshades in muslin as if putting the house to sleep. Only the girl lacks a shroud. She wears a white dress and red belt, a red bow in her black hair, red ballet shoes laced up her calves— her body, too, tied up like an offering. We are supposed to consider sexual assault and whether knife or hammer killed her, to compare the state of her decay to the meat’s—unsubtle metaphor— to inspect piano keys, to speculate on her relationship to her killer. She’s only a doll, but I want to erase all evidence of the murderer’s hunger: the knife wedged beneath her ribs, the blood congealed beneath her hair, the bite marks on her chest and legs. To cleanse her porcelain face and anoint her with myrrh and aloe, then wrap her wounds in linen so she can rise to a different end.
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CARRIE GREEN
Let’s Construct a Model City
—after Frances Glessner Lee’s “Nutshell Studies of Unexplained Death”
Here is the miniature post office and here the airport. Here the mall,
for one last sorry, one last love you. Because these are not the lucky ones
the Kroger, the McDonald’s. Here the office holiday party
who were coaxed from closets and led out single-file, hands up,
and here the movie theaters. Two nightclubs, a music festival.
let’s pose them where they fell— face down or face up, legs bent or splayed,
Beside the women’s health clinic, a yoga studio. Here
crouched beneath desks or behind doors. Let’s paint entry and exit wounds,
a Sikh temple, three churches, a synagogue. And the schools—
lodge speck-sized bullets in throats and chests,
so many schools, and for all ages: elementary, middle, and high,
stipple them with red so fresh you can still see the blue in it.
colleges and universities. An Amish school full of girls.
Let it pool beneath them; let it spatter onto walls.
We’ll populate our city with dolls made from porcelain heads and limbs
And what of the dead murderers? Erase them with black outlines.
in colors from ivory to chestnut, their cloth bodies yielding to our touch
But we cannot forget to replicate the guns they left behind,
like butter. We’ll strain our eyes stitching tiny jeans and t-shirts,
the AR-15s, the AK-47s, the semi-automatic pistols
hoodies and ties, blue sack dresses and shiny black shirts, turbans and ball caps.
and rifles, the bump stocks. Let’s gather them together,
We’ll stuff purses and backpacks with minuscule books and water bottles,
all of them, in this model city of our dead. Let’s stare down
lipstick and mints, umbrellas in case the weather turns.
the black tunnels of every barrel until we all see.
We’ll scale phones to fit their palms, hope there’s time
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CARRIE GREEN
Active Shooter Training Choose a seat near the exit, keep it in sight— always prepared to run, hide, fight. Pay the expert to say what you already know. It’s every man for himself. Run, hide, fight. Churches, temples, nightclubs, schools: so many places to run, hide, fight. Lock the classroom door, crouch under the desk. Drill your children to run, hide, fight. Leave your belongings. Keep your hands up. Survive, repeat: another chance to run, hide, fight. Turn off the TV at the names of the dead. They’ll read Carrie if I fail to run, hide, fight.
Carrie Green earned her MFA at McNeese State University in Lake Charles, Louisiana, and has received grants from the Kentucky Foundation for Women, the Kentucky Arts Council, and the Louisiana Division of the Arts. Her poems have appeared in Beloit Poetry Journal, Poetry Northwest, River Styx, Flyway, Blackbird, Cave Wall, DIAGRAM, and elsewhere. She lives in Lexington, Kentucky, and works as a reference librarian. carriegreen.net
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Gabriella Picone sono idda
Meaning “her� in Sicilian dialect, idda is a celebration of the mother, daughter, sister, grandmother, aunt and friend. Drawing inspiration from the history and traditions of Sicilian folklore, mythology, geology, and the sea, Gabriella merges contemporary painting, craft and classical storytelling in her multidisciplinary works. sono idda is a series of photographs which feature hand painted silk artworks recontextualized in ancient roman ruins, mosaic temples and in natural Sicilian landscapes.
idda Eolo Hand painted silk 36 x 45" photographed in Lipari, Sicily 2019.
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GABRIELLA PICONE
idda Fichi Hand painted silk 36 x 36" photographed in Siracusa, Sicily 2019.
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GABRIELLA PICONE
idda il Principe Hand painted silk 36 x 36" photographed in Vulcano, Sicily 2019.
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GABRIELLA PICONE
idda la Regina Hand painted silk 36 x 45" photographed at the Villa Romana del Casale, Sicily 2019.
Born in New York City, Gabriella Picone is an artist and designer working in painting, ceramics, and textiles. She graduated from The Rhode Island School of Design in Providence, RI with a BFA in Painting. She is the founder of idda studio, a design studio based out of New York and Sicily. iddastudio.com • @gabbbber • @iddastudio
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Jordan Lanham You Call Me By My Shape
These works, based upon codpieces and merkins, were originally assembled together as a wearable sculpture and worn in an undocumented performance for the exhibition “You Call Me By My Shape.� Jordan navigated everyday spaces wearing the pieces, as a commentary on their personal trans experience of having their body inspected, assumed, and questioned due to their presentation.
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JORDAN LANHAM
PHOTOGRAPHS BY JENN TOBY
Fall 2019
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JORDAN LANHAM
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JORDAN LANHAM
PHOTOGRAPHS BY SARA COLLINS
Jordan Lanham was born and lives in Louisville, Kentucky. They earned a Bachelor’s of Fine Arts in Painting and Drawing at the Kentucky College of Art and Design in 2016. Their artwork has been displayed in multiple solo and group exhibitions in galleries in Louisville, Pennsylvania and Italy such as Sotheby International Gallery, 849 Gallery, ISPDS Gallery, MOSA Gallery, Hadley House, and more. They have also worked as a scenic painter for Stage One Family Theatre and Bunbury Theatre in Louisville, as well as being a puppeteer for Squallis Puppeteers and the Mary Shelley Electric Co. Lanham’s current work explores process, gender, identity, the body, sexuality, and queerness through multiple media and performance. The work featured is from the solo exhibition “YOU CALL ME BY MY SHAPE” at Surface Noise in Louisville.
Fall 2019
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VerĂłnica Puche
M
emories and dreams have been the main source of inspiration for most of my work. My creativity stems from the need to tell stories - my own as well as the stories of others. For the past few years, I have spent many hours collecting, re-creating and merging different stories, with the goal of reconfiguring them into new narrative possibilities. These stories derive from oral tradition as well as reminisces of family members. The emotion that is released every time a story is told is what I desperately try to recreate through my work. What happens, however, when oral tradition becomes less interesting to new generations, or when the storyteller’s memory begins to fade? Storytellers die, taking the most spectacular stories to the grave. Lately, I have been thinking about why I treasure these stories, and aim to preserve them. One of the reasons is because of my poor memory. This has its benefits, however. As my father once said, I am very lucky to have such a bad memory because I never remember to hold resentments against anyone. It is intriguing how the mind processes information—how abstract ideas and emotions find ways out of the psyche to be interpreted as composition of elements, texture, or color. Photography can be a tool that helps us convey forgotten memories by revisiting the past. In my case, this photographic past is in conversation with my family history, my nationality, and personal experiences, which results in a portrayal of several juxtaposed realities. Within these realities the dreams, fantasies, memories and violence that I experienced as a Colombian citizen, collide. The result is somewhat chaotic and unsettling, yet I find comfort in revisiting this space, that is neither dream nor reality.
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VERONICA PUCHE
Claudia 03 from the series Wandering Souls, 2017, 20x30", Archival Pigment Print
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VERONICA PUCHE
Camila, 2018, 20x30", Archival Pigment Print
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VERONICA PUCHE
LucĂa from the series Such as my great uncle, eaten by a shark, 2016, 30x20", Archival Pigment Print
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VERONICA PUCHE
Untitled #9, 2018, 20x30", Archival Pigment Print
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VERONICA PUCHE
Untitled from the series Such as my great uncle, eaten by a shark, 2016, 30x20", Archival Pigment Print
Verónica Puche (b.1984, Bogotá, Colombia) is a New York-based artist and curator working with photography, video and text. She holds a BA in Industrial Design from Universidad de los Andes, completed the program in General Studies at International Center of Photography and the MFA in Advanced Photographic Studies from ICP-BARD where she received the Director’s Fellowship for two consecutive years. Her work has been exhibited in The Unites States, Mexico, Colombia and her publications and artist books are part of the ICP Library collection in NYC. She is the founder director and curator of Notas al Futuro. vpuche.com • @veropucheq
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Priyanka Ram
City Eels Verticality that stacks in towers & creates landscapes of cities Horizons of horizontality technĂŠ of synthesized circuitry nerves of steel by armless eels Extended tentacles stretched & swim-mey
City Eels, 9x12", sumi ink, charcoal, graphite, oil pastel on arches paper 2019
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PRIYANKA RAM
Mineral Composition No.1: Wisconsin, U.S.A. Piezoelectric volcanic, tectonic precambrian obsidian slide Down rusty iron finger licked shores cut with iridescent ores A sisyphean task to hit & hammer angles between the crevices of billions of years Between swells of slippery fluid sedimentary cracks drilling mud for oil with weighted barite A quicker kill
Mineral Composition No.1, intaglio ink, plexiglass, inkjet transparency print on arches paper 2019
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PRIYANKA RAM
Diamond Time what is time from inside a diamond how to hear the piezoelectric clock the quartz click precision/direction vs. the wobble of a voice timed from the heart one beat removed from, the rational, logic of, time
Diamond Time, 9x12", sumi ink, glass paint, oil pastel on arches paper 2019
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PRIYANKA RAM
Hand Shao Yin excitement & containment commingle a thread of tension long, taut, vibrating through a heart-string can I call you?
Hand Shao Yin, 9x12", sumi ink, intaglio ink, oil pastel on arches paper 2019
Priyanka Ram lives and works in Los Angeles, CA. She’s interested in the semi-conscious in both humans and screensavers—that juicy space where both nothing and everything seems to happen. Ram tries to locate this slippery space in her paintings, music, and writing. She graduated with an MFA from Art Center College of Design in Pasadena, CA in 2014 and has performed and exhibited at LAMOA (Los Angeles Museum of Art), Loyola Marymount University, Human Resources, VDL Neutra House, Coaxial, Betalevel, and more. priyankaram.com
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